But we must be careful not to insist too much upon these positive definitions and represent his sentiment as though it were one in which negative elements were altogether overcome. The good, virtue, is without doubt stronger in Shakespeare than evil and vice, not because it overcomes and resolves the other term in itself, but simply because it is light opposed to darkness, because it is the good, because it is virtue. This is because of its special quality, which the poet discerns and seizes in its original purity and truth, without sophisticating or weakening it. Positive and negative elements do really become interlaced or run into one another, in his mode of feeling, without becoming reconciled in a superior harmony. Their natural logic can be expressed in terms of rectitude, justice and sincerity; but their logic and natural character also finds its expression in terms of ambition, cupidity, egoism and satanic wickedness. The will is accurately aimed at the target, but also, it is sometimes diverted from it by a power, which it does not recognise, although it obeys it, as though under a spell. The sky becomes serene after the devastating hurricane, honourable men occupy the thrones from which the wicked have fallen, the conquerors pity and praise the conquered. But the desolation of faith betrayed, of goodness trampled upon, of innocent creatures destroyed, of noble hearts broken, remains. The God that should pacify hearts is invoked, his presence may even be felt, but he never appears. The poet does not stand beyond these struggling passions, attraction and repugnance, love and hate, hope and despair, joy and sorrow; but he is beyond being on the side of one or the other. He receives them all in himself, not that he may feel them all, and pour tears of blood around them, but that he may make of them his unique world, the Shakespearean world, which is the world of those undecided conflicts.